I’m all about a good take-out pizza. There’s just something nostalgic about walking through the front door of my house, pizza in hand, movie ready to watch. I know you know the feeling because, well, who doesn’t? Bravo designed the bright typographical pizza boxes for ALT pizza that look more like posters you’d hand on your walls than a home for a hot and cheesy pie. Creating multiple different styles for the boxes was thoughtful in that if people think like me, they’ll keep ordering until they’ve collected all the designs. Pizza branding should be a fun treat, and Bravo has done an excellent job of creating an entertaining branding experience.
It seems fitting that a pastry shop would have packaging that’s as delicious as the treats that lie within. Design & Practice created the identity for Le Patissier, and the result is a gourmet design system. The geometrically designed boxes and bags perfectly paired with color combinations that could be described as “drool-worthy” with bold yet straightforward typography is a match made in heaven. The Eiffel Tower might be a sight to see, but this packaging is a close second.
Shelter’s new brand identity is created by Superunion and features a red arrow formed by brushstrokes. The intention is to bring a sense of the activism that was at the heart of the charity when it was formed in the 1960s back to the logo, while still referencing the shape of a roof which was a central part of Shelter’s previous mark.
The new ad campaign is created by ad agency Who Wot Why and features imagery of real people affected by the housing emergency projected onto buildings and homes. It is set to a track by Wretch 32.
The film is accompanied by a striking set of outdoor, print and online ads, featuring bold text and striking black-and-white portraits shot by photographer Tom Cockram.
The campaign, and new identity, aim to return some urgency and fight to the charity’s messaging, emphasised by the tagline, Fight for Home. “The housing emergency has escalated to staggering levels, impacting the lives of one in three of us,” says Willow Williams, head of marketing at Shelter. “Meanwhile, the global health crisis has made things a whole lot worse. This situation demanded an urgent and unflinching campaign to inspire everyone to join Shelter in the fight for home.”
Brand purpose and Identity: Superunion and The Sustainability Practice at Ogilvy
Ad agency: Who Wot Why
ECD/Founder: Sean Thompson
Creatives: Jack Walker, Ali Dickinson, Rebecca Conyngham-Hynes, Dan Scott
Photographer: Tom Cockram
Production Company: Independent Films
Directors: Sarah Gavron, Anu Henriques
DesignStudio has updated the mental health charity’s branding, creating a new colour palette and drawing on the organisation’s logo to create a set of squiggly punctuation and design elements.
It’s been ten years since Mind last updated its branding, and in that time the mental health crisis has become more pressing – only exacerbated by the events of the last year.
DesignStudio says it was time for the organisation to recapture its “fighting spirit” with refreshed branding that would help expand Mind’s reach. Established in 1946, the organisation supports those facing mental health challenges as well as raising awareness and lobbying for change. DesignStudio’s new palette revolves around a brighter version of Mind’s blue, used alongside a pastel pink, minty green and bright coral.
“We wanted to build on existing elements but broaden Mind’s appeal for today’s diverse audience,” says DesignStudio creative director Vinay Mistry. “After extensive research with employees, volunteers and people with lived experience, we brought fresh thinking to the visual toolkit.”
Perhaps the most charming bit of the refresh is the squiggly punctuation DesignStudio has introduced – inspired by Mind’s existing symbol, and made using hand-drawn illustrations created by the studio team. Farmer describes the update as “more modern, diverse, accessible and legible” – all of which feels essential for the organisation to keep connecting with, and helping, people across the UK.
Nike’s new ad is part of a campaign titled Play New, which emphasises the joy of taking part in sport, even if you’re a bit crap at it
Agency: Wieden + Kennedy Portland
Creative Directors: Alberto Ponte, Ryan O’Rourke
Creatives: Kevin Steele, Naoki Ga
The platform is used for finding inspiration, sharing imagery and creating digital mood boards, lending itself to the cut and paste aesthetic that underpins the new look. Led by Made Thought, the new identity aims to put the people who use it – dubbed ‘Pinners’ – front and centre by creating unique scenes reflecting their various interests.
The art direction feels fun and eccentric, thanks to the disparate imagery and use of flexible colour schemes rather than a fixed palette, while the slant of the new sans-serif typeface created by Grilli Type aims to represent “a literal lean into the future”, according to Made Thought.
“We set out to give Pinterest a brand identity as fluid, personal and creative as its own platform — driven by the meandering choices of the user and their ever-evolving dreams of what might be,” says Made Thought creative director Alistair Webb.